Resumo

Aurélio da Paz dos Reis, a pioneer in early Portuguese cinema, explored cinematic technologies before turning to photography. Paz dos Reis, who introduced cinema to Portugal in 1896 with Saída do Pessoal Operário da Fábrica Confiança, later switched to stereoscopic photography, leaving behind a remarkable archive of 7,294 glass plates showcasing his technical innovation and aesthetic originality.
As an amateur photographer, Paz dos Reis created a large stereoscopic collection of portraits, landscapes, and everyday scenes. He photographed both documentary and artistic subjects, following his era’s visual trends.
Numerous panoramic photographs explored the genre’s depth and three-dimensionality. These images preserve late 19th- and early 20th-century Portuguese society visually.
His use of panoramic view cards showed the Mackenstein jumelle stéréopanoramique camera’s versatility. By moving one lens and removing the internal divider, this device allowed stereoscopic and panoramic photography. Due to its duality, it could switch between visual modes easily.
Paz dos Reis studied monocular and stereoscopic vision. Unlike stereoscopic portraits, panoramic portraits align subjects perpendicularly to the camera. The panoramic approach made stereoscopy more natural-looking.
Panning paintings and engravings from the 18th and 19th centuries depicted vast landscapes and urban scenes with immersive visual effects. Since photography made these compositions portable and accessible, they fit stereoscopic formats.
Through panoramic and stereoscopic imaging, depth perception can be understood. Paz dos Reis photographed familial and social events in Nova Cintra, including Paris (1900) and Rio de Janeiro (1909). His panoramic views, especially for group portraits, show his interest in human groups and public gatherings, expanding stereoscopy’s expressive potential.